El barroco en España

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Palisca, Claude V. (2001). "Baroque". In Stanley Sadie (ed.). The New Grove Dictionary of Music and Musicians. Oxford: Oxford University Press. ISBN 9781561592630. Bazin, Germain, 1964. Baroque and Rococo. Praeger World of Art Series. New York: Praeger. (Originally published in French, as Classique, baroque et rococo. Paris: Larousse. English edition reprinted as Baroque and Rococo Art, New York: Praeger, 1974) El modelo que presenta D’Ors para el Barroco es holístico y omnicomprensivo, pues pretende extenderlo no solamente al mundo Kitson, Michael. 1966. The Age of Baroque. Landmarks of the World's Art. London: Hamlyn; New York: McGraw-Hill. Porto is the city of Baroque in Portugal. Its historical centre is part of UNESCO World Heritage List. [79]

During the first period of the reign of Louis XIV, furniture followed the previous style of Louis XIII, and was massive, and profusely decorated with sculpture and gilding. After 1680, thanks in large part to the furniture designer André Charles Boulle, a more original and delicate style appeared, sometimes known as Boulle work. It was based on the inlay of ebony and other rare woods, a technique first used in Florence in the 15th century, which was refined and developed by Boulle and others working for Louis XIV. Furniture was inlaid with plaques of ebony, copper, and exotic woods of different colors. [133] The Rococo is the final stage of the Baroque, and in many ways took the Baroque's fundamental qualities of illusion and drama to their logical extremes. Beginning in France as a reaction against the heavy Baroque grandeur of Louis XIV's court at the Palace of Versailles, the rococo movement became associated particularly with the powerful Madame de Pompadour (1721–1764), the mistress of the new king Louis XV (1710–1774). Because of this, the style was also known as 'Pompadour'. Although it's highly associated with the reign of Louis XV, it didn't appear in this period. Multiple works from the last years of Louis XIV's reign are examples of early Rococo. The name of the movement derives from the French 'rocaille', or pebble, and refers to stones and shells that decorate the interiors of caves, as similar shell forms became a common feature in Rococo design. It began as a design and decorative arts style, and was characterized by elegant flowing shapes. Architecture followed and then painting and sculpture. The French painter with whom the term Rococo is most often associated is Jean-Antoine Watteau, whose pastoral scenes, or fêtes galantes, dominate the early part of the 18th century.

Baroque painters worked deliberately to set themselves apart from the painters of the Renaissance and the Mannerism period after it. In their palette, they used intense and warm colours, and particularly made use of the primary colours red, blue and yellow, frequently putting all three in close proximity. [115] They avoided the even lighting of Renaissance painting and used strong contrasts of light and darkness on certain parts of the picture to direct attention to the central actions or figures. In their composition, they avoided the tranquil scenes of Renaissance paintings, and chose the moments of the greatest movement and drama. Unlike the tranquil faces of Renaissance paintings, the faces in Baroque paintings clearly expressed their emotions. They often used asymmetry, with action occurring away from the centre of the picture, and created axes that were neither vertical nor horizontal, but slanting to the left or right, giving a sense of instability and movement. They enhanced this impression of movement by having the costumes of the personages blown by the wind, or moved by their own gestures. The overall impressions were movement, emotion and drama. [116] Another essential element of baroque painting was allegory; every painting told a story and had a message, often encrypted in symbols and allegorical characters, which an educated viewer was expected to know and read. [117] Bluteau, Raphael (1728). Vocabulario Portuguez & Latino. Vol.2. p.58. Archived from the original on 2 January 2019 . Retrieved 1 January 2019. En cualquier caso, hay que advertir que D’Ors hace una valoración muy optimista del triunfo de sus tesis en Pontigny. Es cierto que sus tesis son escuchadas con interés y se valora su originalidad, pero no se produce ningún vuelco, ningún cambio de paradigma den la historia del Arte. Aunque es cierto que ya se ha abandonado la tesis del Barroco como “apoteosis de la feo” y que hay discusión en torno a su localización geográfica, lo cierto es que la mayoría de los historiadores del arte siguen situando al Barroco entre los siglos XVII y XVIII, y ha habido cierta tendencia a extender al concepto a la literatura y a la música, ningún historiador de las ciencias se ha tomado en serio la tesis de que el descubrimiento de la circulación de la sangre por William Harvey sea un descubrimiento Barroco.

There are multiple similarities between Rococo and Baroque. Both styles insist on monumental forms, and so use continuous spaces, double columns or pilasters, and luxurious materials (including gilded elements). There also noticeable differences. Rococo designed freed themselves from the adherence to symmetry that had dominated architecture and design since the Renaissance. Many small objects, like ink pots or porcelain figures, but also some ornaments, are often asymmetrical. This goes hand in hand with the fact that most ornamentation consisted of interpretation of foliage and sea shells, not as many Classical ornaments inherited from the Renaissance like in Baroque. Another key difference is the fact that since the Baroque is the main cultural manifestation of the spirit of the Counter-Reformation, it is most often associated with ecclesiastical architecture. In contrast, the Rococo is mainly associated with palaces and domestic architecture. In Paris, the popularity of the Rococo coincided with the emergence of the salon as a new type of social gathering, the venues for which were often decorated in this style. Rococo rooms were typically smaller than their Baroque counterparts, reflecting a movement towards domestic intimacy. [165] Colours also match this change, from the earthy tones of Caravaggio's paintings, and the interiors of red marble and gilded mounts of the reign of Louis XIV, to the pastel and relaxed pale blue, Pompadour pink, and white of the Louis XV and Madame de Pompadour's France. Similarly to colours, there was also a transition from serious, dramatic and moralistic subjects in painting and sculpture, to lighthearted and joyful themes. Empire style vase, very different from the blue-and-white ceramics of the 17th century; 1809; hard-paste porcelain and gilded bronze handles; height: 74.9cm, diameter: 35.6cm; Wadsworth Atheneum, Hartford, Connecticut, US [170] The architects of the Spanish Baroque had an effect far beyond Spain; their work was highly influential in the churches built in the Spanish colonies in Latin America and the Philippines. The Church built by the Jesuits for a college in Tepotzotlán, with its ornate Baroque facade and tower, is a good example. [42] Central Europe [ edit ] Hodge, Susie (2019). The Short Story of Architecture. Laurence King Publishing. ISBN 978-1-7862-7370-3. The reigns of John V and Joseph I had increased imports of gold and diamonds, in a period called Royal Absolutism, which allowed the Portuguese Baroque to flourish.En sus tesis sobre el Barroco, D’Ors parece inspirarse en las ciencias naturales y en la medicina. Por una parte, vuelve a insistir en la tesis, ya expuesta al defender la existencia de los eones, según la cual la distinción puramente cronológica en la historia de la Cultura puede equipararse al periodo más primitivo de la anatomía humana, cuando se dividía al cuerpo en cabeza, tronco y extremidades. Un conocimiento mayor de la naturaleza del cuerpo humano dio lugar a la clasificación de las partes del mismo en sistemas y aparatos (digestivo, circulatorio, etc.). De la misma manera, los estudios sobre la Cultura deben priorizar las constantes, los eones, sobre las divisiones puramente cronológicas[18]. van Lemmen, Hans (2013). 5000 Years of Tiles. The British Museum Press. p.129. ISBN 978-0-7141-5099-4.